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As previously reported here, there is a great deal of interest from our fans for tickets to the Georgia Bulldogs vs. Arizona State Sun Devils game in Tempe. So the question immediately becomes, how do I get tickets? Well...Kanu (Dodgy at Best blog), and I have done the research and gotten the 411.
On August 13, 2008 Arizona State announced that they had sold out of single game tickets for UGA vs. Arizona State. They might have some additional tickets go on sale on Sept. 9th. In the meantime, the info below which has strikethru text is out of date. If you want tickets for Georgia vs. ASU, you have 3 choices:
- 1. You can scalp on gameday.
2. You can order via Stubhub or some other after market service (prices are very reasonable)
3. You can wait til Sept. 9th and hope that there are some single game tickets available.
Why wait when you can get them now:
You need not wait in limbo while air fares rise and hotel rooms get booked up. You can get your ASU vs. UGA tickets today. The Arizona State ticket office is currently selling season tickets for as low as $99.00 per season ticket book (no contribution required). The season ticket package does include the Georgia game.
ASU Ticket Office:
(480) 727-0000
Hours: 12 pm - 8 pm EST
No online sales
According to the ASU web site and ticket office, the UGA fans will be sitting in Sections 231-236. There will be a very limited number of seats available in the lower level, but those lower level seats are reserved for very high roller UGA contributors.
as cheaper version of Georgia Tech's
three game "mini-packs."
Last year, ASU waited until August 13th to make single game tickets available. Why wait until air fare is through the roof in order to save $44.00 on the ticket price?
But wait...it gets better:
According to the ASU ticket sales rep that Kanu talked to, you can return your unused tickets to ASU (obviously in advance), and they will donate your unused tickets a local charity such as the Boys Club of Tempe. You will then get a charitable gift receipt for your tickets. Not too shabby.
Your best bet for tickets near the UGA sections are to start with Section 230 and work your way over from there.
Some additional info on Tickets that I gathered from ASU. (Note: as you can see from the chart above, none of these seats appear to be located near the ASU student section).
-- $99.00 per Season Ticket book
-- Sections 212-221 and 227-230.
-- Section 230 is the closest to the UGA section. Obviously, The more tickets we buy, the bigger the UGA section becomes.
-- Most sections have roughly 38 rows.
EndZone Upper Level Tickets (CHAIR BACKS)
-- $99.00 per Season Ticket book
-- Sections 222-226
Sideline Upper Level Tickets (CHAIR BACK)
-- $149.00 per Season Ticket book
-- Sections 201-211
-- Some of these seats / sections have Chair backs and Arm Rests.
Assuming constant demand and a more limited supply, you would expect the cut off to balloon upwards. If the demand is 25% less than a normal big game, the cut off might be the same as normal. But to expect the cut off to get down to UF levels (7k or so) seems very far fetched.
Bottom Line
If you want to attend this game, tickets should NOT be the reason you say "no. " They are in cheap and ready supply. Separately, Kanu and I are both putting together some hotel and food recommendations. The only tricky thing logistically about the trip will be getting out of Phoenix on Sunday.
To buy the tickets, call (480) 727-0000 Mon-Friday 12-8:00 pm EST. Go Dawgs and see you in Tempe.
See Also:
-- Official ASU Ticket Information
-- Official seating chart
-- Travel and Tailgate Info - Dodgy at Best (some profanity)
-- Hotel List in Tempe - Tempe Convention & Visitors Bureau
-- Things to Do in Tempe - Tempe CVB


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At 77, Robert Redford Goes Back To His Roots
This is FRESH AIR. I'm Terry Gross. My guest, Robert Redford, is not only the star of the movie, "All Is Lost," He's the only actor. He gives what New York Times film critic, A.O. Scott describes as the performance of a lifetime. The New York Film Critic Circle voted him best actor of the year for "All Is Lost." Today he was nominated for a Golden Globe.
Redford plays a man alone on a small yacht in the Indian Ocean between Indonesia and Madagascar. We don't know his name, why he's there or anything about his background except what we can deduce by what we see. Early in the film, his yacht is rammed by a stray container that must have dropped off a container ship.
It leaves a hole in the boat that begins a series of problems this man has to overcome if he is to survive. Something we do learn about him is he is resourceful and not overtaken by panic. This was a very physically demanding role for a 77-year-old actor. Redford's best-known films include, "Butch Cassidy and the Sundance Kid," "The Candidate," "The Way We Were," "The Sting," "All the President's Men," and "Out of Africa."
He directed several films, including "Ordinary People," and "Quiz Show." He directed and starred in the "Horse Whisperer," and the recent film, the "Company You Keep." His new film, "All Is Lost," begins with his voiceover reading a letter he's writing. We don't know who he's writing to. After the voiceover, the action switches to eight days earlier.
Before we talk with Redford about his new film and about his early life and career, let's begin with him reading that letter.
ROBERT REDFORD: Thirteenth of July, 4:50 PM: I'm sorry. I know that means little at this point, but I am. I tried. I think you would all agree that I tried to be true, to be strong, to be kind, to love, to be right. But I wasn't. And I know you knew this in each of your ways and I am sorry. All is lost here except for soul and body - that is, what's left of it - and a half-day's ration.
GROSS: Robert Redford, welcome back to FRESH AIR. That's such a stirring opening for the beginning of the film. You read that letter as if it were a poem. Can you talk about that?
REDFORD: Well, I think I probably saw it that way; I probably felt it that way. There's some marvelous objectives in it, you know. I think everybody wants to be true and strong. And it's the right parts that's difficult and I think that there's kind of an arrow to the character around that when he says, and I tried to be right, although I failed.
You can maybe imagine that that's where he fell short of what his objectives were.
GROSS: Yes, well we tried to imagine when we watch the movie because it's not spelled out for us. Did you want to know your character's back-story, like who he's talking to? You assume it's family. You don't really know anything about who he's writing to, what his life has been like, why he's out in this yacht in the middle of the Indian Ocean. Did you have to know this yourself?
REDFORD: In the beginning, I thought I needed to ask questions of the director, J.C. Chandor, but frankly, Terry, I was very drawn to what you did not know about this. I was very drawn to what was not said. There were challenges in there that were very attractive to me. One of them was that I saw the project - because there was only a 30-page script and it was mostly sketches since there's no dialogue - I was attracted to the fact that there was no dialogue.
I liked the idea there were no special effects. It was a very low-budget film, very independent in its spirit and its budget. And because I felt that it was more of a pure cinematic experience the way films used to be, maybe even going back to silent films. High technology has kind of entered the film business, maybe infested the film business.
But going to what you're saying, I think yes, I did ask in the beginning, is there something I should know about this? And the director evaded answering and then I realized that this is what was intended, and so I went with that. I liked - yes, I could fill it in to a certain degree but not too much beyond.
GROSS: So the director said, referring to your reaction he expected you to have when first reading the script, he said, Redford's either going to say hell yes, this sounds amazing; or he's going to say why in the world would I do that. I have nothing to prove. Why would I put myself through that? And you really do put yourself through a lot in the movie.
I mean, you're being pelted by water through much of it. I mean, your yacht is flooded, so like you're wading in water. I know you shot some of this in a tank and not on the ocean, but some of it was, I believe, shot in the ocean, so you're out...
REDFORD: Yes.
GROSS: ...in the ocean under the hot sun, you're in storms. I mean, it seems like it was a grueling shoot. Did you ask yourself, before saying yes, how much you wanted to subject yourself to?
REDFORD: No, I think that I must have assumed that because the other thing I enjoyed about this was how little there was in the prologue. I met with him, I liked his film, "Margin Call." That was the only other film he had made. I liked that a lot. I liked the script that he had written for this because it was so exact. It was so detail oriented and it told me that there was a vision behind this film that was very secure.
And that meant that I could put myself in his hands. So when we got together, what ten minutes into it, I said hey let's just do it. Let's go. Let's do this. It just felt right; it was an instinctive thing. And rather than all falderal that goes on these days before somebody commits you've got agents, you've got managers, you've got financial people that are all busy analyzing the plusses and minuses of it.
It was stripped of all that, and I love that. I could step into a film and really kind of get back to my roots where I originally started as an actor in the theater in New York and the end of live television, and that was the other attraction.
GROSS: Give us a sense of some of the things that you had to endure, like when you're in the storm, in one of the storms and you're being rained on. What are you experiencing - how are you protecting yourself?
REDFORD: First of all it was a real storm because the - yes, as you said, a lot of it was on the open water. But when we had to get into the really tough stuff, went into a giant tank where they have these big wave machines, these big cylinders that can quirk(ph) up the waves to six, seven feet, that will swamp the boat and maybe turn it over. You had rain, violent rain machines; then you had wind machines.
And you had crewmembers with fire hoses hitting you with water, heavy streams of water, so when all those things are cooking at once, you really are in a storm. So I really did feel, while I was doing this, that I was actually in a storm and I had to feel like I needed to feel, like I'm really in a storm. What am I going to do? How am I going...And it became very physical. I also went into this, I guess at my age wondering what I can still do.
I always, because I was in sports as a kid and, you know, was athletic pretty much my life, I always enjoyed doing my own stunts when I could. But I thought, well at this point in my life what can I still do? I'm not sure. So it was in a way a test. I said let's see what I can do, you know, and I'll do what I can. And then you push yourself and your ego kicks in to gear and you say well maybe I should really - let me do this.
And of course, when I did that, J.C.'s ego kicked in. He said yeah, let's push the guy. So we're pushing each other, I guess.
GROSS: You know, I read that during some of the filming, because of all the water that was attacking you, you got an ear infection and I think temporarily lost hearing - 60 percent of your hearing in one ear - is that accurate?
REDFORD: Yeah. Yeah, it is.
GROSS: Is it temporary?
REDFORD: I wish it was.
GROSS: Oh.
REDFORD: It's sort of permanent.
GROSS: So I hate to put it this way, but if you had it to do over again, would you have saved your hearing and said no to the film?
REDFORD: No. No. The hearing thing isn't that bad and I would've done what I did. I would've done it all over again. I would be happy to do it again. I may not be able to, but I would be happy to try.
GROSS: You know, watching the movie, I thought I would never be the person in this yacht in the middle of the Indian Ocean alone.
GROSS: And...
REDFORD: Well, I wouldn't either, Terry.
GROSS: Well, no, I thought maybe you would be. I thought you were...
REDFORD: No. No. No. No.
GROSS: No?
REDFORD: As a matter of fact, I said this is really good because this tells me this is something I never want to do.
GROSS: I already knew that.
REDFORD: No, that stuff's for somebody else, you know. But, you know, there was another thing about this. I guess this might be an ego thing as an actor, but one of the things that was challenging was to - you had to be completely there as the actor. And because there were no filters, there were no barriers created by voiceovers, that there was the chance for the audience to come close to you as you were going through this. You had to be real in what you were going through. You had to be absolutely there. And that's also an attractive thing as an actor, to be completely occupied with your character on all levels, emotionally, psychologically, including things like fear and what you don't understand, you know, all those things, you have to be there with it. Well, this gave the audience a chance to come closer to the character. So if it was going to work, then the audience could feel at a certain point like they were taking this journey with you.
GROSS: You know, in the credits roll it says cast: Robert Redford. And that's it. That's it.
REDFORD: That is embarrassing.
GROSS: You were the cast. And then after that there is this like long scroll of, you know, camera people and effects people...
REDFORD: Right.
GROSS: ...and the people who dealt with the fishes and the people on the ships. And I'm thinking like...
REDFORD: I know.
GROSS: ...this is like huge group of people working on the film and you're like the only person ever on camera. And that must have been such and odd position.
REDFORD: When we - when I saw that, you know, I've only seen the film once. I was at the Cannes...
GROSS: I'm surprised you saw it. Don't you sometimes not even see your films?
REDFORD: Sometimes, yes. Sometimes I have not seen, yeah, some films I've not seen.
GROSS: Yeah. But anyway, you were saying.
REDFORD: That's a whole other story.
GROSS: Yeah. Yeah.
REDFORD: But anyway, the first and only time I saw it was at the Cannes Film Festival. And so when the film, because, you know, they boo films there.
GROSS: Yes.
REDFORD: And so when the lights came down, I'm thinking geez, you know, this could go either way.
REDFORD: And I'm sitting here in a tux. How embarrassing to be in a tuxedo and be booed, you know. So I'm sitting there thinking God, I'm wondering how this is going to go. So then I saw the screen cast member just me alone and I thought, oh my, I'm really in trouble now with this thing because they're going to be booing me, you know. Anyway, it went the other way. Happily, it went so much the other way that in itself was a shock, a pleasant one.
GROSS: My guest is Robert Redford. He was nominated for a Golden Globe today for his performance in "All Is Lost." We'll talk more after a break. This is FRESH AIR.
GROSS: If you're just joining us, my guest is Robert Redford, and he is the star and only cast member of the movie, "All Is Lost." And he won the New York Film Circle Critics Award for best actor for his performance in the film.
You know, a couple of years ago, there was a biography of you written by Michael Feeney Callan and I was reading that and I was really surprised to learn that as a child you had polio. I mean you're such a physical person. You're so athletic and so physically fit, and now even at the age of 77, you're so physically fit. You needed to be in order to do "All Is Lost." And the thought of you being paralyzed for a while as a child was shocking to me.
REDFORD: Yeah, it was to me too.
GROSS: Sure.
REDFORD: I - it wasn't a severe case. I think we should, you know, I want to make sure we get this straight. It wasn't an iron lung case. It was a case of mild polio. But it was severe enough to put me in bed for two weeks. And because in those days, polio, before the Salk vaccine was discovered, what hung over your childhood was always the fear of polio because all you saw were people with iron lungs. So, yeah, when I got it, it was because of an extreme exertion in the ocean, in the bright sunlight in the ocean and it was alarming but it wasn't serious enough to go much further.
GROSS: Were you paralyzed at all?
REDFORD: No. No. I was down - I couldn't move very well, but I was not paralyzed.
GROSS: So you said that you got that polio because of what - overexerting yourself at sea?
REDFORD: Yeah. I was just with another kid. Another kid and I were out on the ocean and we had these little things that are called pedalos(ph) and they were these little wooden kind of crates where they would float, but you would have the peddles inside and you would peddle and it would move the thing. But they were wide-open, so I got carried away with this guy, and we were competing and going as fast as we could and I got carried away and went way too far out, way too far, just peddling my brains out. And I got so far out there I thought Jesus, where am I? Well, there is the - mainland is way, way back there, so we turned around and came back in. But I had kind of done myself in, exhaustion, heat, sunstroke, everything.
GROSS: So what message did you take away from that? Like I should never over exert myself again, or...
REDFORD: That I would never get into a pedalos again.
REDFORD: I don't think I went beyond that because I love the ocean, I love surfing and I love - or as a kid I loved to surf.
GROSS: And, tell me if I'm getting too personal here. So soon after you had the polio, your mother gave birth to twins who died shortly after birth.
REDFORD: Yes.
GROSS: I'm just thinking that's a lot of trauma at one time.
REDFORD: Yeah. I guess it depends on how you're raised and what your genealogy is. You know, it's family, you come from maybe a dark, more of a dark family, integrated from Ireland and Scotland and didn't talk much, didn't complain - you don't complain much. You don't ask for anything. You bear the brunt of whatever comes your way and you do it with grace. So when my mom had twin girls that died, there was no talk about it. And that goes all the way back to when I was a little kid when I - I was very close to my uncle, who was in the Second World War, and he was with General Patton's Third Army. He was an interpreter because he spoke four languages fluently. And so I was very fond of him. And he would - on his furlough, he would come down and play baseball with me and so forth. And he went away to war and he was killed in the Battle of the Bulge. But when he died, I was very close to him. The way the family dealt with it was it just wasn't talked about. It just happened and you didn't ask a lot of questions, it just was what it was. And so I think that was sort of built-in to a family structure. So as a result, when my mom went through that, there was no talk about it; everybody moved on.
GROSS: Your mother died when you were 18. She was sick. I'm not sure what she died of. How did that change the course of your life? Did you have to look like rewrite your plans and...
REDFORD: Well, I don't know that it changed anything at the time. She was a wonderful person. She died very young. She was full of life, full of laughter, full of love. She was out there. I mean she would take chances and she was very risky and she taught me how to drive a car when I was 10 and nobody knew about it, I mean that kind of stuff, so we had a close relationship. But also I was of a young mind just like all the other kids my age were. You didn't want your parents around, you didn't want your parents doting on you, you didn't want attention or anything like that, and you had a mother that wanted to give you that attention and you kind of pushed it away. I feel bad about that.
GROSS: You went to college. And from what I've read, academics was not your thing so much and that you did a lot of drinking and rode motorcycles...
REDFORD: Yes. Yeah. Yeah. So the whole thing.
GROSS: ...or drag races or whatever.
REDFORD: The whole thing.
GROSS: Right.
REDFORD: Well not - I don't know about that because that came a little bit later. It was really. I went to college to get out of Los Angeles. I went to college because it was Colorado and it was the mountains and I - by that time I realized that nature was going to be a huge part of my life. That Los Angeles for me was a city that when I was a little kid at the end of the Second World War, I loved that place. I loved it. It was full of green spaces. And suddenly, when the war ended and the economy revived, suddenly Los Angeles had no land use plan. It felt like the city was being pushed into the sea that I loved because suddenly, there were skyscrapers and freeways and smog. And I said wait a minute, what's, I wanted out. So I went into the mountains and to the Sierras, worked at Yosemite National Park and fell in love with nature that way, and I realized that nature was going to be a big part of my life. So I sought land elsewhere that I thought would be kept free of development.
GROSS: You're talking about Sundance?
REDFORD: Yeah.
GROSS: But let's get back to the drinking part in college. That sounds...
REDFORD: Oh. OK. You want to...
GROSS: You know, just reading briefly about that, you know, it sounded like an almost like rebel without a cause era, you know, because like...
REDFORD: Well, you know what it was, yeah, OK, I guess it was. Yeah, I was very...
GROSS: You know, like you're breaking loose and everything, but there's no - it sounds like there was no like social, political, spiritual, whatever, drug even, like context to put it in.
REDFORD: Well, there was alcohol. There was social.
GROSS: Mm-hmm.
REDFORD: The sociability was tied mostly to the alcohol in those days. And so yeah, I certainly had my fill of that. But was at the heart of all this, I think, was the fact that I never really; I was not a good student through my entire life. My mind was out the window. I drew underneath the desk. I drew pictures. I just didn't - I wasn't learning the way I was supposed to learn. And I think I realized that my education was going to happen when I got out in the world and engaged with other cultures and other places and other languages and had the adventure of exploration. I felt that's my education. So I left. Actually, I was asked to leave, so...
GROSS: Why? Why were you asked to leave?
REDFORD: Because my grades - because I was such a terrible student. My grades were terrible and the interests I had were not anything that was going to amount to much of a career for me. You know, anthropology I loved. Psychology I loved. And geology I just really loved. So you put all those things together, what are you going to be in life? And, anyway, I took off and earned some money in an oil field to earn enough money to last for a year in Europe and I went there when I was 18 to be an artist, and that's when I began, I think, that's when my education really began.
GROSS: Robert Redford will be back in the second half of the show. Today, he was nominated for a Golden Globe for his performance in "All Is Lost."
I'm Terry Gross and this is FRESH AIR.
GROSS: This is FRESH AIR. I'm Terry Gross back with Robert Redford. Today he received a Golden Globe nomination for his performance in the film "All Is Lost." Earlier this month, he was voted best actor of the year by the New York Film Critics Circle.
When we left off, he was talking about how he left college to pursue life as a visual artist. Eventually, he went to New York, but - in what he describes as a serendipitous turn - he ended up at the American Academy of Dramatic Arts, where he says, something clicked and he became an actor.
You did a lot of episodic TV early in your career in the early 1960s: "Maverick," "Rescue 8," "The Deputy," "Playhouse 90," "Perry Mason," "Naked City" "The Twilight Zone."
REDFORD: Hey now, Terry, "Perry Mason," now look, you know what the...
REDFORD: ...title of that? That was what, 1959? You know what the title of that was?
GROSS: What?
REDFORD: "The Case of the Treacherous Toupee."
GROSS: That's great.
REDFORD: That was the name of it. How's that? And I was so excited to have a job, you know.
GROSS: Who had the toupee? Was it - it wasn't you, right?
REDFORD: I couldn't remember now. It wasn't Raymond Burr, but somebody did, some blonde did. But those were your apprenticeship years and it's always sort - one of the things that's sort of weird is to see yourself characterized so often as somebody that looks well, that has glamorous looks or is appealing physically. That's nice. I mean I'm not unhappy about that, but what I saw happening over time was that was getting the attention. And sometimes - because I always felt that was an actor and that's how I started.
I wanted, I was a person who loved the idea of craft, and that learning your craft was something fundamentally and good, and I wanted to be good at my craft and therefore, I would be an actor that would play many different kinds of roles - which I did. I played killers, I played rapists, really deranged characters. But most people don't know about that because that was in television.
So suddenly, you're seeing yourself in kind of any glamour category and you're saying well, wait a minute, you know, the notion is that well, you're not so much of an actor, you're just somebody that looks well. And that was always hard for me because I always took pride in whatever role I was playing, I would be that character. Like, you know, say if you look at "Jeremiah Johnson," you know, the character in the wilderness and within the same year I was doing "The Candidate." And you put those two together and you would hope that somebody would say well, somebody is acting here.
GROSS: I wanted to play a clip from your early episodic TV years. And was thinking well, I'm a big fan of "Route 66"...
REDFORD: Oh, are you?
GROSS: Have the box set. Yeah, I love that show. I loved it as a kid and I love it looking back at it.
REDFORD: As a kid. Thanks a lot.
GROSS: What were you, 10, when I did my segment?
REDFORD: Hey, I'm alive, I was alive then. A lot of people weren't.
REDFORD: What I liked about "Route 66" was not so much the show as it was the route, because I remember hitchhiking as a kid back-and-forth on Route 66 because there were no freeways then, there were no turnpikes or anything like that. And so Route 66 was the way you got from Chicago to LA or vice versa.
GROSS: So anyway, so I figured, woo, let's do a clip from "Route 66." And then I'm reading your biography and I read this line on page 87, and that you're saying to your agent, I'd rather rot and be remembered for "Route 66."
REDFORD: I said that?
GROSS: You were quoted as saying that. What can I say?
REDFORD: Am I?
REDFORD: I can remember the show. Do you have a clip, you say?
GROSS: Yeah. Yeah. So this is - you don't even remember doing it? This is from a 1961 episode with Nehemiah Persoff as your father.
REDFORD: Mm-hmm.
GROSS: And it's set in a mill town in a Polish-American community. And like you've gone off to out-of-town college, so you've gotten out of the mill town, but you're back on a college break. And the episode opens with you chasing after your girlfriend who is running away in the woods. And we don't know what this fight is about, but you're trying to catch up to her. You're not trying to attack or anything, you're just trying to catch up to her and to reach her and to communicate with her. She accidentally kind of falls off this hill and hits her head and dies. And you don't know what to do. So you don't call the cops. You don't tell anybody. You try to tell your father, but your father, your father just doesn't want to hear anything. You're having trouble communicating with him. He doesn't want to hear it. Later, the police discover her dead. You're implicated in the death and you're trying to explain to your father what really happened, because he's on the verge of killing you. Your father doesn't know that you secretly had this girlfriend who was the daughter of your father's good friend.
So, anyways. So here's you trying to explain to your father played by Nehemiah Persoff what was really going on with your girlfriend and what was really going on with your relationship with your father.
REDFORD: (Janosh) Do you know why she ran? Because she said to me, do you love me? Will you marry me? And I couldn't answer her with the truth. I couldn't say, yes. Oh boy, I want to marry you. Before God and the whole world, I do. How could I say that to her and hurt her even more? I wanted to marry her. Would you have stood for it, Papa?
NEHEMIAH PERSOFF: (as Jack) If you had to marry her...
REDFORD: (as Janosh) No I didn't have to. It was never anything like that.
PERSOFF: (as Jack) Then why should I've allow you? Why you not come to me? Why you not come to me.
REDFORD: (as Janosh) Have I ever, ever, ever been able to come to you, Papa, with anything that was my own idea? Haven't you always decided everything for me? Haven't you decided everything for me always, who I must be, what I must be, how I must be?
REDFORD: I don't remember that at all. I'm not ashamed of it, obviously. But I don't, god, that's so interesting. I don't remember, I just don't remember that at all. That's amazing.
GROSS: So your voice sounds, you know, so much different. It's higher.
REDFORD: Well, yeah. I was recently - J.C. - J.C. Chandor and I were having a...
GROSS: The director of "All Is Lost." Yeah.
REDFORD: Director of "All Is Lost," J.C. and I were at a festival and they ran clips of my career that I'd never seen. They had clips going all the way back, all the way up to now and it was very uncomfortable - very uncomfortable. Clips from different films, and it went back into TV. And it went back into something around the same time about a year earlier, "The Iceman Cometh."
GROSS: Mm-hmm.
REDFORD: When we looked at this clip, I'm playing a young kid that is going to commit suicide, you know, Don Parritt, who commits suicide at the end of the show. And you're right, the voice was very different just like you're describing. And I did the last "Playhouse 90" that was ever done. And I just thought that was the best show. When I was a kid I thought that was the best show on television. And I was fortunate enough to be in the very last "Playhouse 90" that was written by Rod Serling and I was able to be - I played a young German lieutenant, very sympathetic Nazi lieutenant. He gets corrupted by - or somebody else tries to corrupt him, but he resists the corruption. And Charles Laughton played the rabbi.
GROSS: Oh, acting with Charles Laughton must've been so interesting. But there is a great story that's told in your biography about the slap?
REDFORD: Oh, yeah. Yeah, right. He was intimidating. It was one of my first parts and there was a scene with George Macready who played my commanding officer. And it's during a pogrom and they're calling out names in the street to be packed into trucks. And then afterwards, as we come up to the rabbi's apartment and there's a tension between the rabbi, played by Charles Laughton and Macready. And there is an intellectual challenge involving Nietzsche and God and so forth. And so I'm just there clueless. I'm this young, innocent, naïve guy. And at one point Laughton drops something; he drops his Bible. And I reached down to pick it up, which is a no-no. And Macready sees this and realizes oh-oh, this kid needs some training. And the rabbi sees that my instinct is to be compassionate - I reached down to pick up the Bible. And so he looks me in the eye, and the look is like, I see who you really are. I see who you really are. Macready says, apparently you feel like you have to be sympathetic to the rabbi. He says, therefore, I instruct you to slap him. So then I supposedly slap him, reluctantly, but I slap him. And as we're getting ready to do it, it was going to be live. It was going to be a live telecast. As we're getting ready in rehearsal, Laughton comes up to me. He says, dear boy, the (unintelligible) slap, what are you going to do? And I said, what do you mean what am I going... He said, what are you going to do because I can't be hit. I said you can't be hit? No. I can't be hit. What are you going to do? I thought oh, gee. Now what am I going to do, you know?
REDFORD: And so I go to the director and I said, what am I supposed to do here? And he says oh gee, don't bother me. I've got enough troubles. So we get on the show and I'm sitting there and as we're getting to the moment, I'm thinking, who is this guy to tell me what I'm supposed to do - what I can do and what I can't do? And I got so riled up and I was so nervous on top of it, that when it came time, I thought who is he to tell me what I can do and can't do. So I hauled off and really whacked him.
REDFORD: And it wasn't a slap. It was a whack. And his jowl - spit came out of his jowl. You know, and he looked at me and tears came out of his eyes, and he looked at me and...
REDFORD: ...when it was over I thought, oh boy, you know, I'm going to get a mouthful. So I go to his dressing room to apologize, I'm really sorry. And he says no, you did the right thing. You did the right thing.
GROSS: That's such a great story, and it's so interesting that you have such a vivid memory of doing that "Playhouse 90" edition and of the Charles Laughton story and no memory of "Route 66."
REDFORD: Well, I think it's because "Playhouse 90" was such a big deal as a kid.
GROSS: Yeah.
REDFORD: There were two shows on television, the Sid Caesar show - I've forgotten the name of it. It was, you know...
GROSS: "Your Show of Shows?"
REDFORD: "Show of Shows." Yeah. And it would come to Los Angeles via kinescope, I think. And "Playhouse 90," those two shows with a top-of-the-line on drama and comedy. And it made a huge impact on me as a kid. You know, I just thought they were wonderful shows. And the idea that I could be in one, and particularly since it was going to be the last one, was a big honor. It was a real thrill for me.
GROSS: My guest is Robert Redford. He was nominated for a Golden Globe today for his performance in "All Is Lost." We'll talk more after break. This is FRESH AIR.
GROSS: If you're just joining us, my guest is Robert Redford and he's the star and only cast member of the movie "All Is Lost." And this month, he won the New York Film Critics Circle Award for best actor for his performance in that film.
So skipping ahead to 1969, you make "Butch Cassidy and the Sundance Kid" with Paul Newman. And this is the movie that makes you kind of iconic. Had you - did you are a know how to ride horses? Did you like Westerns when you were making this?
REDFORD: Yeah. Yeah. I knew how to ride horses. I loved horses. I liked doing my own stunts when I could. When it first came up, because of the age difference between Paul and I, which was like 12, 13 years, and he was really well known and I was not well known. I had just done, I think, the film "Barefoot in the Park." But he had a career obviously, that was very high. And so the studio did not want me to - the director, George Roy Hill and I met in a bar on Third Avenue and they were putting me up to play Butch Cassidy because I'd done this comedy on Broadway. So they, you know, nobody thinks very deep about stuff like that. They said well, if you did a comedy maybe he should go up for Butch Cassidy. And so we were sitting in this bar and I told him at the time, I said yeah, I can do that. But that's not the part that interests me. I'm more interested in the Sundance Kid. I feel more comfortable in that role. I feel more, I could connect more to that character.
And that surprised George and then he got kind of sold on that idea, but the studio didn't want me. And they tried everything to keep me out of the film at that time. It was 20th Century Fox. And I think it was Paul Newman and William Goldman, the writer, and George, that stood up for me against the studio. But the one that really pushed it aside, of course, was Paul. And when I met Paul he was very generous, and he said, I'll do it with Redford. I never forgot that. That was a gesture that I never forgot and I felt that I really owed him after that. And then he and I, in the course of that film, became really, really good friends. And that friendship carried on to the next film and then it carried on into our personal lives.
GROSS: He was originally supposed to be the Sundance Kid and you were supposed to be Butch Cassidy?
REDFORD: Yeah. That's right. The original title of the script was "The Sundance Kid and Butch Cassidy," that was the original title that Goldman had written. And Newman was to play Sundance, but he had played that kind of part before. And George was a guy that saw Paul - he saw side of Paul that many hadn't seen because he had worked with him and television and he knew him personally. He says no, this guy, he's very nervous, he talks a lot, he tells bad jokes. He - I think I see him as Butch Cassidy and he saw me a Sundance, so he had to fight for that. So when it was finally done, then they changed the title to "Butch Cassidy and the Sundance Kid."
GROSS: Would you mind if I played a scene?
REDFORD: Uh-uh.
GROSS: OK. So this is a kind of a famous scene where, you know, you're both bank and train robbers. And at this point, you're not exactly surrounded, but you're cornered. You're on a...
REDFORD: A ledge.
GROSS: A ledge. Yeah. And on top of you on this, you know, rocky ledges or - is the posse that's hunting you down. You've got no place to turn. You've got no place to go except for the water that's underneath. And that's - you're up really, really high and it's a very rocky...
REDFORD: Yeah.
GROSS: ..river or stream. But anyways, as Butch Cassidy is trying to figure out what their options are, what you want to do is, like, shoot your way out. And so you speak first.
REDFORD: (as Sundance) Ready?
PAUL NEWMAN: (as Cassidy) No. We'll jump.
REDFORD: (as Sundance) Like hell we will.
NEWMAN: (as Cassidy) No. It'll be OK. If the water's deep enough, we don't get squished to death. They'll never follow us.
REDFORD: (as Sundance) How do you know?
NEWMAN: (as Cassidy) Would you make a jump like that you didn't have to?
REDFORD: (as Sundance) I have to. And I'm not gonna.
NEWMAN: (as Cassidy) Well, we got to. Otherwise we're dead. They're just going to have to go back down the same way they come. Come on.
REDFORD: (as Sundance) Just one clear shot. That's all I want.
NEWMAN: (as Cassidy) Come on.
REDFORD: (as Sundance) Unh-unh.
NEWMAN: (as Cassidy) We got to!
REDFORD: (as Sundance) Nope. Get away from me.
NEWMAN: (as Cassidy) Why?
REDFORD: (as Sundance) I want to fight 'em!
NEWMAN: (as Cassidy) They'll kill us.
REDFORD: (as Sundance) Maybe.
NEWMAN: (as Cassidy) You want to die?
REDFORD: (as Sundance) Do you?
NEWMAN: (as Cassidy) All right. I'll jump first.
REDFORD: (as Sundance) No.
NEWMAN: (as Cassidy) Then you jump first.
REDFORD: (as Sundance) No, I said.
NEWMAN: (as Cassidy) What's the matter with you?
REDFORD: (as Sundance) I can't swim!
NEWMAN: (as Cassidy) Why, you crazy? The fall will probably kill you.
GROSS: How reassuring.
REDFORD: Yeah, right.
GROSS: So that's my guest, Robert Redford, with Paul Newman from the 1969 film "Butch Cassidy and the Sundance Kid." Were you surprised at how famous that scene became?
REDFORD: Yes. I was. I mean, that - I was surprised at the whole thing. I remember when I saw the rough cut - I mean I loved making the film. I had a lot of fun. I've never had so much on a film as I have that one. But when I saw the rough cut of it, I said wait a minute. What's that song doing in it?
GROSS: Oh, "Raindrops Are Falling on My Head," the Burt Bacharach song.
REDFORD: Yeah. I said wait a minute. What's that all about? I said, what in the hell? I said raindrops - first of all, it's not raining. Secondly, what's that got to do with anything? I thought, well, that - they just killed the film.
REDFORD: It made no sense to me. And, you know, how wrong can you be? I had to listen to that song on the radio for six months.
REDFORD: But the film also, Terry, another thing that's interesting about how - I guess the value of word of mouth. I remember when the film came out, George Roy Hill and William Goldman were very upset and depressed because the reviews were mixed to negative. And word of mouth is what made the film build, but when it first opened it had these mixed reviews.
I didn't read them. I remember they were very upset and depressed. One of the reasons the reviews, some of the reviews were negative was that the anachronism of the dialogue. Like modern day talk then. I found that pretty inspiring and fun. It was just fun. But apparently that's what some of the negative response was, but it was, I guess, overridden by the acceptance of the whole film.
GROSS: By the way, I had the same reaction about "Raindrops Are Falling on My Head" in the middle of the film. I thought what...
REDFORD: Did you?
GROSS: Yeah. I mean, it made absolutely no sense to me.
REDFORD: Well, it's just you and me then. There's two of us.
GROSS: My guest is Robert Redford. He was nominated for a Golden Globe today for his performance in "All Is Lost." We'll talk more after a break. This is FRESH AIR.
GROSS: My guest is Robert Redford. When we left off we were talking about "Butch Cassidy and the Sundance Kid." So not long after shooting "Butch Cassidy," you founded - co-founded a new organization called Education Youth and Recreation to promote alternative films on university campuses. And this was...
REDFORD: Yeah. That was a big mistake.
GROSS: It was a big mistake? Why was it a big mistake?
REDFORD: Well, because at that time I was already beginning to feel the urge to do something - to do something that would be maybe more supporting more independent type films. And the idea was that we would get some funding together and that we would buy up films that had been either poorly distributed like Billy Friedkin's "Birthday Party" or "Dynamite Chicken," you know, some of the documentaries.
Because I always loved documentaries. I was always extremely positive and supportive of documentaries, and so whatever I could do promote them even back then, 1970. We thought, well, what if buy up documentaries that were either not distributed or poorly distributed and films that were the same, put them into a package and went for the college market? Went right to the colleges and say, OK, we're bringing this to you.
Well, what we realized is no one came, that we assumed that there was a college market, but no. What most of the students wanted to do was to go into town and see "Dr. Zhivago." So there were just very few that wanted to see films like this, that were kind of film buffs. But that wasn't enough to create a college market. So it failed.
GROSS: Did you lose money personally on that?
REDFORD: No. I didn't have my own money into it. But I suspect that over time if I look back on it, that was probably the...
GROSS: The roots of Sundance?
REDFORD: ...genesis of what later...
GROSS: Yeah.
REDFORD: ...became - yeah.
GROSS: Mm-hmm. Mm-hmm. You know, it's interesting that back in the late '60s, early '70s, you were already thinking in that direction.
REDFORD: Yeah. And it was different then because, you know, one of the beauties was that I was able to work in both - within the mainstream. In those days the studios would allow for smaller films to be made under their umbrella. So if I had - like, I wanted to tell stories about the America that I grew up in. And for me I was not interested in the red, white, and blue part of America.
I was interested in the gray part, where complexity lies and where things get complicated, but I wanted to tell stories about issues that were American that had impact on people, like politics and sport and business. And so I got two of them made, and I wanted to make them like documentaries. So one was "The Candidate," the other was "Downhill Racer." I was a ski racer.
But in those days you would do a larger film but you would also be able to - if you did those films you could say, well, would you allow me to make this smaller film? And they would do it. So "The Candidate" and "Downhill Racer" were done at Warner Brothers. At the same time, I would do a larger Warner Brothers film like "All the President's Men" or what have you.
So that carried through the '80s, until the business changed and suddenly Hollywood became more centralized. It was following the youth market. Technology was creating more chances for special effects, which would be more of a draw for the youth. And so Hollywood, which basically Hollywood follows the money - that's what it does - and so it was going that direction.
And it was beginning to leave behind those other kinds of films. And so there was this gap there. They weren't likely to be making those films anymore. They were going to be offloading them. That led to the idea of, well, to keep this thing alive, because this is where new voices are going to be developing or new films can be coming that are independent, that are more exciting and more humanistic and stuff like that.
So that was what led to the idea of Sundance first with the labs and then the festival. But if I look back on it and think back in time, it probably started way back then with that first venture that failed.
GROSS: Well, yeah. What's interesting, taking the films to college campuses failed so you started it on your own campus and people would come to you.
REDFORD: For a guy that never graduated from anything, that's pretty interesting.
GROSS: Do you try to see a lot of the films that come out of Sundance?
REDFORD: I try to, yeah. I sometimes don't get to see all of them. It's been a little - in the beginning it was more fun. It's not quite the fun anymore it was when it was just starting because you're uphill, you're kind of against the odds and there's something exciting about that risk. And you're pushing it and pushing it and there's something exciting about it.
And then once success comes, then suddenly other elements come into it that kind of load it all up. And then you find yourself doing, like, publicity or interviews or having to meet this top person or that top person. And all that's right. That's proper, I guess, but it's not the fun it was when you were standing out there trying to get people in.
Like you were standing outside of a strip joint, you know, and say, hey, you want to come in and see this movie?
GROSS: And Sundance is starting soon. I mean, it's January. This year's Sundance Film Festival.
REDFORD: Yeah. It's coming down the pike.
GROSS: You'll be there, right?
REDFORD: Somewhere.
REDFORD: Just like Dick Diver. You know, Dick Diver is somewhere in the vicinity.
REDFORD: There's a great line in "Tender Is the Night" that says - I think it's the last line in the piece, and it's for Dick Diver as to his exact whereabouts, no one is quite sure except it's known that he's somewhere in the vicinity. That's just so great.
GROSS: Well, unfortunately our time is up but I hope we get to continue this conversation.
REDFORD: I look forward to a part two.
GROSS: Yeah. Yeah. Absolutely. There's so much we haven't gotten to. It's really been a pleasure to talk with you. Good luck in awards season. Good luck with this year's Sundance Film Festival. Thank you so much for coming back to FRESH AIR.
REDFORD: Well, thank you, Terry.
GROSS: It's been such a pleasure.
REDFORD: And your voice is a lot more pleasant than mine.
GROSS: Oh, I wish.
REDFORD: No, it is. It is. You have a beautiful voice.
GROSS: Oh, thank you so much.
GROSS: I'll play that back in my mind.
GROSS: Robert Redford was nominated for a Golden Globe today for his performance in "All Is Lost." And earlier this month he was voted Best Actor by the New York Film Critics circle. We'll close with a track by guitarist Jim Hall, who died this week at the age of 83. Tomorrow we'll listen back to our 1989 interview with him. This is Hall with bass player Ron Carter doing the Sonny Rollins tune "St. Thomas."
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In workplaces across the nation, Americans are inviting their colleagues to chip in $2 for a Powerball ticket and a shared daydream.
The office lottery pool is a way to improve your odds and have a little fun with co-workers. And besides, who wants to be the only person at work the next day when everyone quits?
With $600 million on the line, this is the time to play. It's the largest-ever Powerball jackpot and the second-largest world jackpot of all time. And it could get even bigger before tonight's drawing.
The Multi-State Lottery Association recognizes the popularity of work pools, especially when the stakes are so high. In the last few years, lottery officials have offered tips for organizing pools.
"The appeal is they can stretch the value of their $2," said Norm Lingle, executive director of the South Dakota Lottery and chairman of the Powerball Executive Committee.
But it's important to be careful. Workplace pools that yield big jackpots sometimes result in lawsuits, broken friendships and delayed payouts. Follow these steps to make sure you're ready to divide your winnings.
Know the rules
Lottery officials encourage pool organizers to lay down rules, put them in writing and distribute the details to all participants before the winning numbers are drawn.
Linda Golden of Gettysburg, Pa., may set the bar for how to manage an office lottery pool. An employee for more than three decades at a printing company called Quad Graphics, Golden has organized a pool for years and requires everyone to sign in, showing they contributed. She had 14 co-workers on board when the jackpot pushed past $200 million in late March.
They only won $4. But instead of distributing what would have amounted to about 27 cents a person, Golden bought more tickets for the $1 million Powerball drawing on March 27 without telling the others. She hit the jackpot and never gave a thought to keeping the winnings all for herself. One co-worker was a woman who used a walker because of a foot problem. Another had just been to the emergency room because of a knee problem.
"I say it over and over again: That ticket we won was meant for those two ladies and the rest of [the group] is there for the ride," she said.
After taxes, each person ended up with about $50,000.
Golden's winning ticket has only stirred more excitement in her office for Saturday's giant Powerball jackpot. She estimated she had 26 people in her pool this time.
"This time, it's starting to take up so much of my time. So many people wanted to join," she said. "It's kind of getting out of hand."
In Collinsville, Ill., just across the Mississippi River from St. Louis, seven firefighters were pooling their money for a $14 ticket that offered seven plays.
Mike Harris keeps the pool in order by distributing a photocopy of the ticket to each contributor and scrawling their names on the handout. To him, it's just common sense.
"There's no confusion," he said. "This is the ticket we have."
Tthe good and the ugly
If you're the person buying the tickets, make sure co-workers are aware if you plan to buy personal tickets on the side.
That didn't happen in Indianapolis, where a hairdresser became involved in a lawsuit with seven of her former co-workers.
Christina Shaw claims the winning ticket wasn't part of an office pool. The hairstylists say they had all verbally agreed to share any winnings from any tickets purchased at the same time as those for the pool.
"People don't realize that this is serious business," said New Jersey attorney Rubin Sinins. He represented five construction workers who claimed a colleague cheated them out of a share of a multimillion-dollar lottery jackpot. The man claimed he won the 2009 jackpot on a personal ticket — not with a ticket he bought as part a lottery pool.
"When you go in with people in an agreement that involves potentially millions of dollars, you're talking about a contract," Sinins said. If a ticket wins, "then issues can arise as to who's actually part of the pool, who's entitled to the money, what proofs there are to establish that."
It's smart to plan. But it also can feel silly to plan for something that is nearly impossible to win. Or is it?
The chances of winning the latest jackpot are about 1 in 175.2 million. That's how many ways a person can combine the numbers to make a play. But Sinins said it's still important to consider what would happen if you somehow overcame the odds.
"If there was no chance, you wouldn't do it," he said. "And you obviously want to do it. So you want to make sure that there's no problem afterward."
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Why I Can't Quit My Naga
Recently, my mouse died. I'd had it since sometime in 2010. I can't remember precisely, I just remember that when I got it I was a boomkin/resto druid and we were doing ICC. I had a hard time getting it set up and I had a hard time learning to use it. Yet when it died about two years later, I went right out and bought another one just like it.
The mouse is the Razer Naga. No, not that kind of Naga.
Why would I buy the same mouse, you might ask? (And no, this isn't exactly a product endorsement, I'm definitely not getting paid by Razer). Well, for a few reasons. The first one is that it fits my hand perfectly, which isn't easy to come by. I find most gaming mice to be too large or unwieldy or simply the wrong shape for my hand. I would go so far as to say that the Naga might be a bit small for the average male hand, but it is exactly the right size for mine. So ergonomics is one strong reason; when you use a mouse really often it matters whether it's comfortable or not.
The second reason I went out and bought another Naga after the first lasted for two years is because this mouse changed the way I play games, more than any peripheral or addon. Here is what my new one looks like:
You see those buttons on the side? 12 side-buttons, the main two buttons, a wheel and two extra buttons ensures that there are a ridiculous number of buttons to press at any time. The Naga is specifically designed for MMOs and maximum button access. The way that the Naga is able to achieve so many extra buttons on a mouse is by making them correspond with buttons on a keyboard. There's a slider on the bottom of the mouse that lets you determine whether you want buttons 1-12 to match the number keys at the top of your keyboard, or the number pad on the side. I choose to use the numpad, because I don't use it for anything else otherwise, and I still need access to my nuke keys at the top. I'm going to let you have a rare look at my UI so I can explain more readily how that works out in-game. Don't judge my really messy bars – there are duplicates, there are random things, but all the important things are within reach.
So here are my bars, as a mage. I've highlighted a block of buttons on the side; those correspond to the 1-12 keys on the Naga. I laid them out to match the configuration of the physical keys because I find that less confusing, but that isn't strictly necessary, it just works for me. My most important buttons are 1-5 (in the first row):
1. Mirror Image
2. Fireball
3. Pyroblast
4. Fire Blast/Impact
5. Combustion
And on the Naga's buttons:
1. Flamestrike
2. Living Bomb
3. Scorch
4. Dragon's Breath
5. Counterspell
6. Assist
7. Blast Wave
8. Mage Armor
9. Flame Orb
10. Use Extra Action Button (primarily for Dragon Soul; I switch this in and out depending on whether a fight requires it like Ultrax)
11. Iceblock
12. Invisibility
There is a reason for the placement of most of these abilities. All of the abilities I'd want to be spamming are kept on the keyboard. Primarily Fireball in position two and Pyroblast right alongside. What I find the Naga really excels at are abilities that are either instant, or that require placement. So for example using the Naga for Flamestrike or Blast Wave is really fast and intuitive, because I can be hitting the key and already moving my cursor into position to place the reticule. This would also apply for Blizzard, when I happen to be playing Frost. I keep my Counterspell in a really easy to hit position for ease of use. My assist macro doesn't really NEED to be on the Naga but I find it convenient for it to be. Scorch also occupies a position in the first row of buttons so I can cast all the scorches while moving.
I also use the same set-up for my healing characters. Here's a glimpse at how that plays out.
As a healer, I tend to favour all of my healing abilities being on my mouse in one way or another. Here you can see I've set up mouseover macros for all of my castable abilities: Holy Shock, Flash of Light, Word of Glory. Light of Dawn is over at button three because it's a moving/situational ability anyway so it's easier to hit three after I've maneuvered to cast it. Next on the Naga comes Rebuke, a few of the Hand spells, bubble, Aura Mastery, healing cooldowns, and a warlock cookie. (I'm ashamed to admit that I can't remember what paladin cooldown is called, but hey I'm not a paladin blogger! I'm pretty sure it's something either divine, holy, or Handsy).
The rest of my healing abilities depend on simple key clicks via Vuhdo (e.g. left click is "bread and butter moderate cast/mana heal," the right one is "longer cast time heavier mana/oomph heal.") My dispel abilities are likewise "hidden" in this UI because they are variations of CTRL + clicks or SHIFT + clicks. Although my method tends to be a bit haphazard, it works for me!
It's pretty evident why I'd be reluctant to give up the mouse now that I've been accustomed to it for two years. I've always struggled to use the far right portion of the keyboard, although I do use some other buttons in other places. (Note that "Blink" is bound to F, so it's never far from any of my standard WASD keys). I also use Button 4 and Button 5 (on a standard mouse, these are usually the side buttons while Button 3 is the click wheel). B4 is my mount button and B5 is Spellsteal. This has been one major drawback of the new Naga – these buttons have switched positions.
This is really messing with my head at the moment. Although I understand why the buttons were moved – on the first generation mouse they were hard to reach and it took me a long time to get used to them at all – now they are right underneath where I'm used to letting my hand rest and I really have to think about how to reach them. I don't tend to use the "click" feature on the mouse wheel for the same reason, but currently I have it set up through Vuhdo to cast Slowfall on myself or others.
The newest Naga has another feature that wasn't present on my old one: adjustable side-plates.
You can see them fairly well here. From what I can tell, a magnet holds the plate onto the mouse itself, so you can just pull one off and pop a new one on. I am using the one that's most like the old Naga (why fix it if it ain't broke) but it comes with two other sizes, one of which seems fairly wide and might help to alleviate size issues for folks who find the mouse doesn't fit their hand properly. I was concerned initially that the side plate might be prone to just pop off, but so far that hasn't happened. I'm generally happy with the new Naga. Most importantly, after I installed the drivers it worked perfectly with my existing WoW set-up. Here are some Naga pros and cons for you.
Naga Cons
1) Mandatory registration via the Razer website: The idea is that this "Synapse" system of theirs will save your mouse settings and sync them if you're on a different computer, like at a LAN party or a gaming tournament. That's not really the kind of thing I do so the registration was a bit annoying. I saw a reviewer comment that it was a deal breaker for him and he wanted to return his mouse, which seems a bit over the top to me. It takes five minutes and is just one in a long list of things I've had to sign up for but didn't really want to.
2) Longevity/Durability: I mentioned that my previous Naga only lasted two years or perhaps a bit less. With this in mind, I bought the in-store warranty for this one and I hope if it is has issues they will happen within that window. I fully believe that Diablo III pushed my aging Naga over the edge; the problem it was having was an issue with double clicking. I'd click just once and it would think I clicked twice (which is more aggravating than it sounds). Youtube had various people offering fixes for this, all of which required opening up and lubricating the mouse – and they also admitted it may only extend its life for an extra few months. This wasn't worth it for me, and I'd rather go out and get a new one. The moral of the story is: don't play Diablo III. (clickclickclickclickclick)
3) Adjustment period: For a new person getting the Naga, there IS a period of time during which none of those buttons will mean squat to you. You can't just take it out of the box and begin to play with it, it has a learning curve, and for some people that may be a major drawback. The mouse does come with tiny little "training" stickers that you can place on the buttons to help your thumb get its bearings. I never used these, and after a certain number of hours of gameplay they weren't necessary. They are there if you need them, but if the idea of learning HOW to use a peripheral doesn't appeal to you, you may not like the Naga. I would urge you to persevere with it if you want to try it though! It's definitely been worth it for me.
4) Cost: At $79.99 (Canadian) it's not exactly cheap. The fancier version, the Razer Naga Epic carries a whopping $129.99 price tag for its wireless capability and colour changing backlighting. Not worth it for my needs but it's pretty snazzy.
Naga Pros
1) Ergonomics: I find the shape of the mouse to be exactly ideal for me. The new adjustable sides make it so you can potentially change between three configurations and find one that suits you best. For hours of gaming, you want a mouse that will support your hand and not cause any strain.
2) Buttons: The Naga's side buttons are fantastic and I love them. I honestly think I would be really frustrated if I had to play with a "normal" mouse that lacked them, now. They are a Must Have, so I guess Razer has snagged me for as long as I require a gaming mouse.
3) Style: The Razer products all look pretty cool, if that matters to you. I am a bit sad because my previous one had blue backlighting (matched my keyboard and tower) and this one is green so it's odd-man out, but nobody notices that stuff besides me anyway.
There are fewer "pros" written here than cons, but for me the pros are pretty big ones. I hope this Naga will last me more than two years this time, but even if it doesn't and I am still playing MMOs, I will probably be likely to buy another.


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A criminal serving a five-year sentence "for supplying gadgets to an organized crime gang used to conceal ATM skimmers" has invented a device that prevents ATMs from being susceptible to such thefts, Reuters reported today.
Valentin Boanta, who is six months into his sentence in a Romanian prison, developed what he calls the SRS (Secure Revolving System) which changes the way ATM machines read bank cards to prevent the operation of skimming devices that criminals hide inside ATMs.
Boanta's arrest in 2009 spurred him to develop the anti-theft device to make amends. "When I got caught I became happy. This liberation opened the way to working for the good side," Boanta told Reuters. "Crime was like a drug for me. After I was caught, I was happy I escaped from this adrenaline addiction. So that the other part, in which I started to develop security solutions, started to emerge."
Boanta began working on SRS during his trial. SRS, Boanta says, can be installed into any ATM. It rotates the customer's bank card to prevent the operation of skimming devices as they are currently designed.
SRS development was funded by a company called MB Telecom and the product is being shopped around by Gnosis Kernel, which says:
The main characteristic of the SRS device is highlighted by the insertion of the credit card on its width (not on its length like in present cases), with the magnetic tape facing down. Considering this innovation, the magnetic tape cannot be copied under any circumstance by skimming devices, devices which need to read the magnetic tape on its length in a sequential manner. SRS assumes the credit card and its mechanical and electronic devices rotate it, inserting it into the ATM (or any other device that uses plastic credit cards). After the transaction is completed the released credit card is again assumed by the SRS and with the same rotary motion, but in an opposite direction, it is returned back to the user in the same position as it was initially inserted (on its width and with the magnetic tape facing down). Using this manner of inserting the credit card, on its side, the translation motion of reading the tape is no longer possible, making it useless to install skimming devices on ATMs.
Here's an animation to show how the device works:
MB Telecom President Mircea Tudor told Reuters that Boanta "fully deserves such recognition. He's taking part in improving Romania's image abroad and he'll surely join our team when released."
SRS will supposedly be available "soon," but it's not known how much it will cost.


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Friday night's 14-inning affair between the Washington Nationals and San Diego Padres featured a treat reserved only for the truest of die-hard Nationals fans — a second unofficial presidents race, run only at home games that stretch past the 13th inning.
Five hours, 30 hits, and 18 pitchers into the game, as midnight approached, the Washington Nationals' racing presidents returned to the field for presidents race #2. It was only the second 14-inning game in the short history of Nationals Park (the other being June 20 against the Texas Rangers). The late hour took its toll on most of the racing presidents, who simply gave up and let George run uncontested to the finish line.
For this final homestand of the season, it appears that George, Tom, and Teddy have had enough of Abe Lincoln, and have been pulling out all the stops to block him from the finish line. The result has been a mini-streak of his own for George, who won both races tonight and will be looking to lock up second place for the season this weekend.


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A Pacforest Company exclusive!
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OVER 6 MILLION Bud Caps SOLD!
Brad's "Breathe Easy" Bud Cap has proven to be extremely effective against deer browse!Description
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Designed for one application prior to photo-degradation.
Easy To Install
Open the top with your fingers, squeeze the seams and slip over the leader leaving room for bud growth.
Hold securely in place with 1 staple parallel to the stem at the bottom of the cap on both sides of the terminal leader (not through the stem).
When you squeeze both seams together, the top opens up and will stay open when stapled. If the top doesn't open you are squeezing and stapling the wrong way.
Numerous Benefits Over Other Bud Caps
Designed to install ,walk away, and Breathe Easy!
Low cost, silviculturally correct.
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Bud Caps worked perfectly. I used them on pine seedlings that were 5-7
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J.A., Oregon
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06/02/2022 LiveRacers Version 1.15.88
- Added ability to manage team members by domain admin
LiveRacers is an online League Management System & Livetiming for racing simulators. Watching your live sessions, monitoring best laps, displaying race results, running championships or comparing driver statistics - here you have it all. It is free & easy to setup in minutes (see the list of supported games) and works automatically off your server data. Whether you have a couple of friends to race over the weekends or running a racing league, we can help you experience it in a brand new way.
Your game server is sending low bandwidth data stream to LiveRacers (usually using a plugin we provide, stream is about between 5KB-20KB/sec depending on the number of drivers). This enables us to feed the livetiming page to you anywhere around the world on your PC, mobile or tablet. Every lap, every incident, sector time or weather conditions are persisted to provide you with league management capabilities. The system also automatically processes the game result files ensuring your results are correct.
Using the live stream data and results files, LiveRacers is persisting all Sessions, so you can see what the competition is doing or just remember ones moments of glory. Race admins can use this feature to monitor drivers' activity.
See what's happening on your servers live. State of the art live timing on auto-generated track, live table and best laps charts. It just doesn't go any better than that. Watching or broadcasting races was never easier.
Setup custom Events and Championships in your League Calendar. Drivers can group into teams and sign up for these events and system will automatically connect them with race results, updating drivers & teams standings.
Enjoy powerful tools to administer your league - customizing championship formats and point tables, driver penalties, invalidating individual lap times up to setting up how Rating system works or modifying display period for best laps.
Whether is it gold medals, top speeds, track records or consistency of lap times, you will find all of it. Additionally LiveRacers introduces career Rating system, calculated based on race results, customizable to fit your league.


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How often are ads updated?
With our exclusive technology, our ads do not require manual validation and are thus updated in real time.
Because of this system, you need to act fast once a new ad has been published. Don't hesitate to use our powerful e-mail alert system (see questions below).
Because of this system, you need to act fast once a new ad has been published. Don't hesitate to use our powerful e-mail alert system (see questions below).
Can the Cubo Immobiliare portal be consulted from anywhere?
Certainly. Thanks to the Internet, 1.4 billion people (including 350 million Europeans) can view your ads from anywhere and in their native language.
Does your automatic translation system produce the same mediocre results we are used to seeing?
No. Unlike other real estate sites that offer several languages, we don't use automatic translation. Instead, our ads are automatically generated using exclusive technology resulting from over two years of collaboration by a team of real estate agencies, linguists, IT experts and translators. Ad quality is perfect in all languages, and foreign buyers can thus use the Cubo Immobiliare portal as though it were a national portal in their own language.
Why should I choose Cubo Immobiliare for my ad?
Too many reasons to be listed here, but a few minutes browsing the site should be enough to convince you that Cubo Immobiliare is the ideal solution for the quick sale of your property.
That said, here are just a few of the reasons Cubo Immobiliare is so successful:
In fact, the best way to convince you to place your ad on Cubo Immobiliare... is to check out the competition.!
That said, here are just a few of the reasons Cubo Immobiliare is so successful:
- Ad prices (don't hesitate to compare)
- Functionalities (among the most comprehensive)
- Multilingual ads (widespread circulation)
- User-friendly site that buyers appreciate (easy browsing, clear presentation, detailed ads, etc.)
In fact, the best way to convince you to place your ad on Cubo Immobiliare... is to check out the competition.!
Interesting concept... but there are already other multilingual portals.
True, there are other sites with ads in several languages, but:
- Only rarely are they geared towards private sellers.
- Their functionalities are much more limited than those of Cubo Immobiliare.
- They often have no more than two or three languages (compared to 6 for Cubo Immobiliare).
- The quality of the ads in other languages is generally quite inferior to the ads on Cubo Immobiliare. We are the only ones who do NOT use automatic translation. If you are fluent in several languages, test it for yourself... you'll soon see what makes us stand out from the rest!
Selling to a foreign buyer? How does it work?
Please consult the page Selling to a foreign buyer? How does it work?.
Can I memorise an ad?
Yes. To memorise an ad so you can view it later, click on the icon in the ad's fact sheet. It will be memorised in your Customer Area and you can view it again at any time.
How to place an ad?
To publish an ad:
- Click on Place an ad in the menu bar (at the top of each page of the site).
- Follow the instructions on the screen, then click on Create.
- Fill in the form on the page that opens as accurately as possible.
- When you have finished entering your information, click on Validate. The ad is saved in your Customer Area until payment has been received.
- If you opt to pay by credit card (secure payment) or Paypal, the ad will go on-line immediately. If you prefer to pay by transfer, the ad will go on-line once payment has been received.
Can I place a want ad?
If you are looking for property to buy, you have two options:
- Create an e-mail alert to receive ads that match your search criteria on a daily basis
- Place a want ad (option available shortly)
How many photos can I include with my ad?
You can include up to 10 photos and/or maps of your property free of charge.
What is the cost of placing an ad?
If you are a private seller, consult the page For Sale By Owner rates. If you are a real estate professional, consult the page Professional rates.
Do I have to write the ad in the different languages myself?
Absolutely not! You don't even have to write it in your own language! Our exclusive intelligent ad creation system automatically creates ads from the information you have provided. This produces standardised ads that are pleasant to read and completely error-free (in all languages).
Can I modify my ad once it is on-line?
Once an ad has been paid for, you have 72 hours to make any changes you wish. After that time, most of the information can still be modified, except for the basic features of the property: type, location, surface area, etc.
Can I renew my ad?
Once your ad has expired, you can renew it for a discount of 20%.
What methods of payment are accepted?
You can pay for your order with the following:
- Credit card (secure payment) - your ad goes on-line immediately
- Paypal (whether you have an account or not) - your ad goes on-line immediately
- Bank transfer - your ad goes on-line upon receipt of payment
How long until my ad goes on-line?
If you pay by credit card, your ad goes on-line immediately. Otherwise, your ad goes on-line upon receipt of your payment.
Can I place an ad for property located abroad?
Yes, ads can be placed for all countries.
How do I add a virtual tour?
You can add a virtual tour by indicating its URL, or uploading a panoramic photo.
Before publishing an ad, can I see what it will look like, especially in the other languages?
You can view existing ads, and you can also display a preview of your ad exactly as it will appear on the site (in all languages), before proceeding with payment.
What is the map module and how can I take advantage of it?
The map module displays a map on your ad sheet that enables visitors to locate your property. This module is very useful for visitors who are not familiar with your region, particularly foreign visitors.
The map module is currently FREE with all of our ads.
The map module is currently FREE with all of our ads.
I am selling a building. Under what category should I place my ad?
There are two possibilities:
- If you are selling an entire building, choose the Building section.
- If you are selling the flats separately, you should place an ad by type of flat (discounted rates apply) in the Flat section. Bear in mind that if you choose the Building section, your ad will not be shown to visitors searching for flats.
How do I create an e-mail alert?
To add an alert, do a search and click on Create an alert in the results page or the fact sheet of an ad. A window will open showing the criteria you used for your search. You can modify this default criteria if you wish, and then click on Validate. The alert is thus added to Your alerts/searches in your Customer Area, and you are free to modify, disactivate or delete it, as well as display ad matches at any time.
Do e-mail alerts expire?
No, but you can disactivate or delete them.
What can I do in my Customer Area?
Your Customer Area is like a control room for your real estate project, where you can:
- Create an alert
- Memorise ads
- Set your preferences
- Consult your ad
- Place an ad
- Consult your invoices
- Print your property posters
Can I modify my personal information?
Yes, you can modify your personal information via your Customer Area.
I forgot my password. What should I do?
In the log on page, click on Forgot your password?, then enter your e-mail and click on Send. You will receive your password by e-mail.
What is the "Print a poster" function?
When you place an ad, you can print a poster for your property (in different formats), to advertise your property in stores and supermarkets, at your office, on your car, etc.
I can't add photos to my ad.
The following constraints apply to photos and/or maps:
You can use any photo touch-up software to resize your photos, like the one that comes with your digital camera, or any other software (Adobe Photoshop, Paint Shop Pro, XnView, etc.).
- Only select photos in landscape format (i.e. wider than they are tall).
- File size is limited to a maximum of 100 KB.
- Only files in JPG/JPEG format are authorised.
You can use any photo touch-up software to resize your photos, like the one that comes with your digital camera, or any other software (Adobe Photoshop, Paint Shop Pro, XnView, etc.).
Didn't find your question in the FAQ? Don't hesitate to contact us:
- By e-mail (Quick response guaranteed, generally in less than 24 hours.)
Selling property?
- Locally
- Nationally
- Internationally
- You want to post a very detailed ad (text, photos, etc.) to avoid unnecessary visits.
- You are targeting potential buyers who are not necessarily in your region and are thus looking for specific information before making a trip to visit the property (for the purchase of a holiday home, following a work transfer, retiring to another region, etc.)
- You are targeting potential buyers who are not fluent in English and who wish to view ads in another language.
- You are targeting a foreign clientele.
- You want to take your time and sell for the best price, taking advantage of our option to publish your ad until the sale of your property.


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Pastry Chef Ehud Ezra, gave us this delicious recipe for yom tov. SYR and I got to taste it yesterday, thus, we can attest to it being truly scrumptious without being overly sweet. One of the joys of this type of post is being in the company of such gifted chefs and bakers. Udi, as his friends and coworkers lovingly nicknamed him, is a warm hearted chemist and chocolate alchemist. He's got such a mastery of ingredients and technique mixed with a sensitive spirituality that reflects his soul in everything he bakes. His Rosh HaShana recipe for Honeyed Chocolate Lava Cake certainly demonstrates his unique talents as a master pastry chef.
Honeyed Chocolate Lava Cake
Yields 10 mini 5 ozs. portions made in 4″ muffin molds
- 1/2 lbs. butter/margarine/Earth Balance
- 1 1/2 lbs. semi sweet chocolate
- 2 tspns. vanilla extract
- 1/3 cup honey
- 7 whole eggs
- 3/4 cup flour
- Confectioners sugar
- Melt butter, 1 1/2 minutes in microwave, add chopped chocolate, mix until incorporated but not too hot add vanilla extract and honey.
- In mixer whip eggs until they form high peaks, about 3-4 minutes.
- Fold with chocolate mix.
- Spray pans with canola oil. Scoop in batter until the top of pans (batter rises and then deflates).
- Put in oven at 400 F, for 12 to 15 minutes, until top is crusted.
- Sprinkle tops with confectioners sugar. Serve with 4 scoops of Rich's whipped cream or vanilla ice cream w/honey on top.
Easy to make and fast to bake, if you make you'll shine whether with your guests or even with your family.
Enjoy it, gentle reader, we certainly did!


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Pool and Spa
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Radiation Therapy - Cancer
Radiation therapy (also called therapeutic radiology or radiation oncology) uses X-rays, gamma rays, and charged particles to fight cancer. Like surgery, radiation therapy is used in several ways depending on the type and location of the cancer. Certain levels of radiation work to destroy cancer cells or prevent cells from growing or reproducing. This treatment may provide a cure for cancer, control the disease, or help relieve its symptoms. Most radiation treatments won't make you radioactive. Talk to your doctor about any precautions you should take when getting radiation therapy.
Although each hospital may have specific protocols, radiation therapy usually begins with these procedures:
Simulation process. After a physical exam and a review of your medical history, your treatment team maps out the position you will be in for each treatment and the exact location on your body (referred to as treatment field or port) where the radiation will be given. Sometimes, the area on your body that requires treatment will be marked to make sure radiation is given properly. The treatment team may also make molds, headrests, or other devices that help to position you during your treatment. Imaging studies, such as CT scans, MRI scans, or PET scans, may also be performed during the simulation process to help plan how to direct the radiation during your treatments.
Treatment plan. Once the simulation process is completed, the radiation oncologist will determine your treatment plan, including the type of machine to use, the amount (dose) of radiation that is needed, and the number of treatments that will be given.
Radiation therapy is given through different methods, depending on the type of cancer, the location of the cancer, and your health. Sometimes, radiation therapy is used in combination with other treatments. The following are some of the different types of radiation therapy with brief explanations of their goals:
External radiation (external beam therapy).
With external radiation, radiation is administered by a large machine that points the energy waves directly at the tumor. The radiation therapist controls the machine. Since radiation is used to kill cancer cells, special shields may be made to protect the tissue surrounding the treatment area. Radiation treatments are painless and usually last a few minutes.
Internal radiation (brachytherapy, implant radiation, systemic radiation).
With internal radiation, a high dose of radiation is given inside the body as close to the cancer as possible. The radiation treatment may be swallowed, injected, or implanted directly into the tumor. Some of the radioactive implants are called seeds or capsules. Internal radiation involves giving a higher dose of radiation in a shorter time span when compared with external radiation. Some internal radiation treatments stay in the body temporarily; other internal treatments stay in the body permanently, although the radioactive substance loses its radiation energy over time. In some cases, both internal and external radiation therapies are used. New delivery methods for radiation therapy are under investigation.
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Lady Vikes beat Quincy
A ferocious press defense parlayed with an early lead propelled Bronson to a girl's basketball win on Monday night.
The Lady Vikings welcomed in Quincy for the U.S. 12 tilt, which saw Bronson pick up a 48-38 victory. The win pushes the Bronson record to 2-1 overall on the season.
Bronson scored the first nine points of the game and led 13-6 after eight minutes of action.
They were able to force bad passes and turnover by Quincy from their press, leading to early buckets by Liz Baker and Mallorie Bassage.
Bronson continued the tough style of play in the second quarter, building a lead of 26-16 after a triple by Kylei Ratkowski.
The lead hovered around double digits but ended up at eight points as the two teams headed into halftime, with Bronson leading 26-18.
The third quarter saw Bronson lengthen their lead. The Lady Vikes outscored Quincy 14-9 and held a lead of 40-27 heading into the fourth and final quarter.
Quincy made a bit of a run but never got close enough for Bronson to panic. The Lady Orioles held an 11-8 advantage in the fourth.
Ratkowski led Bronson with 10 points while Baker tossed in eight. Skyler Sobeski poured in seven points, Kinslea Blouin had six points while Grace Pyles connected for four free throws. Kassidy Bystry had four points, Amberly Bercaw added three points and the trio of Sarah Morgan, Bassage and Kayla Roberts all added two points.
In junior varsity action, Bronson won 35-22.
Alexa Ratkowski led the Vikings with eight points, four rebounds and four steals while Makayla Sikorski had six points and 13 rebounds.
Alexis Outwater, Kelsey Robinson and Maryselva Albarran all had four points. Robinson added 12 steals on night. Hannah Hoover had three points, Maritza Hernandez had two points, Jackie Rangel had two points and six rebounds and Kirin Cekander had two points and six rebounds.
The Vikings are 2-1 and host SJV rival White Pigeon on Wednesday.


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June 21, 2015, 8:00 pm ET - June 21, 2015, 8:00 pm ET - Senate amendment submitted
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MSP completes investigation into shooting of Sidney man by police
The Michigan State Police has finished its investigation into the shooting of a Sidney man by a Belding police officer, and forwarded its findings Wednesday to the Ionia County Prosecutor's Office for review.
The prosecutor now will review the reports and rule on whether the shooting by the officer was justified, said MSP Lt. Brody Boucher.
Bernard Rowley, 55, was shot and killed early Jan. 5 after he allegedly shot out the window of a Belding police car parked at the city hall in Belding and then fired at officers.
Ionia County Prosecutor Ron Schafer said his office has received the reports and will review them to ensure that they include everything necessary to make a legal determination regarding the incident.
"Once we have all the reports we believe are required for a legal determination, then we will begin the process of reviewing the same and rendering an opinion as efficiently as possible," Schafer said.
The MSP investigation is now closed, unless the prosecutor wants follow-up, said Brody. Information typically in the reports submitted to the prosecutor in these cases includes evidence collected, interviews with the suspect's family and friends, statements of the officer(s) involved, and the autopsy report, he said.
The officer, whose name has not been released, remains on paid administrative leave pending a decision by the prosecutor.


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Dancing's Derek Hough: I'm Excited About Amy's New Legs!
Hey everyone!
Thanks for your votes!
I'm super proud of Amy and super happy with our swing. We had a little mistake. My jacket got in the way. I put my arm behind my back and she's supposed to grab my hand, but my hand went inside my jacket, so she couldn't grab my hand. It was no big deal. I thought she did great because right before we went on stage, her foot came loose! Because the floor is sticky, it was causing friction and it was coming undone. She needed a wrench to tighten it up, so I went to a lighting guy and he pulled out a Swiss army knife and she just sat on the floor tightening it up. She said she was really nervous and she wanted to do well. I said to her, "Listen, we're rooting for you. Every step that you take is a success. Just remember that. Enjoy it. Don't put so much pressure on yourself." I could kind of see her relax and we went out there and she did a fantastic job. During the performance, it came loose again. She told me afterward that it was kind of moving around. It was interesting, but it was really cool and I'm really proud of the way it went.
Amy got new legs this week, but it's not because of this incident. I've been talking to her prosthetics maker about options and they found feet for swimming. When you swim, your feet are pointed, so when she puts these on, she's on her toes the entire time. Her face just lit up after she put them on. She was like, "I feel like a lady. I wanna cross my legs slowly and show off my feet." It was really sweet. I am really, really excited about this week and her new legs! What it's done for us is it's opened up a whole room of moves that we couldn't do with the other prosthetics because it wouldn't aesthetically look right. We have the contemporary, so now we're able to add lifts and use her legs in ways we couldn't before. It's nice to have that freedom now. I'm also excited because Amy's story is so important and the opportunity to be able to share something with the audience and with her family is inspiring. Plus, no one's tried to dance in swim prothestic legs before, so Amy's going to be a pioneer as usual!
The double elimination was pretty crazy and I'm sorry to see Diana and Sean go. I was worried Diana wouldn't be able to perform her dance since they eliminated her beforehand, so I was glad she got her last dance. None of us had any idea it was happening. Sometimes you hear rumors and stuff about what's going to go down, but nobody knew. They've been very good about keeping things secret this year. I feel like they're gonna throw something at us every single week. You're always concerned about getting eliminated, but I thought we did enough to stay. I know that Amy has so much more to give and she's improving every single day. When I first thought about doing this season and I heard about Amy, I got really inspired by her, but I didn't know what we'd be able to do. I was coming in with no knowledge and expectations. It's been great to be able to continually discover things each and every day.
The switch-up voting is going on right now. The whole thing will be interesting. We all have different teach methods and different theories about technique, connection and certain things like that. It'll be funny if the celebrity goes, "Well, so-so taught me the opposite," and the pros are going to be like, "Well, this week, you have to trust me." That might be interesting if there are any contradictions, but there might not be any. I don't know if any couples have made deals to try to get fans to vote for a certain switch, but I know Amy would like to get Mark because he and I are close. Whoever she gets, I'm going to be very supportive. I'm going to be right there if they need any help. I'm not going to abandon her, like, "Nope, nope! You're not my partner!"
See you Monday!
View original Dancing's Derek Hough: I'm Excited About Amy's New Legs! at TVGuide.com